Musicians' mental health

Separating the mental from the physical is certainly practical, but they are often linked, as physical impediments can lead to feelings of being overwhelmed or devalued, and can even turn into full-blown depression, which is why the possibility of psychological support in the treatment of artists' physical ailments should by no means be overlooked. As with bodily pathologies, concealing long-term afflictions of the mind - whether from oneself (repression), trusted family and friends, or therapists - often only leads to a worsening of the problem. After suffering severe musculoskeletal disorders, regaining confidence in oneself and one's abilities is not a matter of course. Conversely, mental state can influence the body, inducing reactions of varying degrees of intensity depending on the individual and the circumstances. Gastrointestinal complications seem to be the most frequent, and present practical problems complicating musical activities. Respiratory discomfort, asthma, tachycardia and dermatitis are also part of the somatization resulting from excessive psychological stress. In such cases, treatment should not be confined to symptoms alone, but should also include psychotherapeutic support, focusing in particular on anxiety and stress management. Despite taboos and clichés, there's nothing shameful or humiliating about embarking on such an approach. For reasons largely linked to the image they feel they must project to themselves and to others, men are often less inclined than women to accept the fact of not being able to manage their minds adequately. Fear of giving the impression of weakness and social injunctions ("be a man, be strong, take charge") do not encourage them to accept such help, even though it is so useful, and create a feeling of guilt. It also carries a negative connotation, as if any therapeutic consultation related to the psyche must necessarily mean that the patient is in the grip of a serious mental illness.

Psychosocial risks

Recently, a French concert cellist suffering from bipolar disorder underlined how difficult it is to justify having to cancel concerts for mental reasons, which remain invisible unlike a broken arm; there is a great risk of being considered unreliable, due to a lack of awareness of the problems of the mind. One of the ills of our century, burn-out syndrome, is the result of progressive wear and tear caused by chronic stress. Whether the cause is extrinsic (over-occupation leading to a reduced private life and a lack of time to recuperate) or intrinsic (perfectionism, poor time management or negative emotions), stress provokes the production of hormones which, over time, tire the body. A potentially aggravating factor is precariousness, as experienced by independent artists who have to multiply their commitments in order to survive. A feeling of usefulness and a satisfying vision of one's profession, a favorable and fulfilling atmosphere in the workplace (music school or orchestra, for example) are essential factors in avoiding burn-out, as are physical activity and controlled breathing. To date, prevention of burn-out is still inadequate, as is that of mental dysfunction in general, and depression in particular. In recent years, however, there has been increasing talk of psychosocial risks (or RPS) and their harmful consequences, including loss of motivation, withdrawal, unpleasant social behaviour and reduced performance.

Performance anxiety

Thanks to its neuro-stimulatory and neuro-protective qualities, as well as its psycho-affective regulation capacities, musical practice helps to acquire and maintain a good mental equilibrium, which has been demonstrated by numerous scientific studies and can be experienced empirically by musicians. Nevertheless, it cannot protect against all disorders, and related causes can even make it harmful, especially when a performer fails to overcome his or her fear of the stage and free him or herself from apprehension. This musical performance anxiety can produce lasting devastating effects: musculoskeletal disorders, increased blood pressure, low self-esteem, social phobia, depression and, of course, cognitive disorders (loss of attention or concentration). As a preventive measure, relaxation techniques such as the Alexander Technique or the Feldenkrais Method are preferable to drugs with undesirable, even dangerous and addictive side-effects.

Pressure on students

Bad psychological practices can be acquired very early on, when, for example, the child has to conform to overly impatient or fussy expectations on the part of parents or teachers, or even to pressures that can amount to outright abuse. Subsequent negative effects can include disgust with the musical profession, a feeling of never being good enough, depression and addiction. Although not yet widely discussed, this subject is currently the subject of growing interest, and we'll have the opportunity to return to it in the near future, as protecting the health of musicians is one of USDAM's major concerns.